26 November 2012

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THE GYPSY, c.1987
THE GYPSY, c.1987
John Shinnors (b.1950)

Auction Date / Lot No.: 26 November 2012 / 1

Published Estimate: €3000-4000

Price Realised: €4400


SPRING POOL, 2000
SPRING POOL, 2000
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 26 November 2012 / 2

Published Estimate: €2500-3500

Price Realised: €0


BISHOP STREET, 2000
BISHOP STREET, 2000
Donald Teskey RHA (b.1956)

Auction Date / Lot No.: 26 November 2012 / 3

Published Estimate: €6000-8000

Price Realised: €9000

  • Signature: signed, titled and dated on reverse; with inscribed Rubicon Gallery label also on reverse
  • Medium: oil on canvas
  • Dimensions: 30 by 39.5in., 76.2 by 100.33cm.
  • Provenance: Rubicon Gallery, Dublin; Private collection
  • Bishop Street, Dublin is best known as the location of Jacob's Biscuit Factory, one of the buildings held by the Irish Volunteers during the 1916 Rising. Today it is the address of the National Archives.

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DOGFIGHT, 2002
DOGFIGHT, 2002
James Hanley RHA (b.1965)

Auction Date / Lot No.: 26 November 2012 / 4

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: initialled and dated lower right; inscribed with title and signed again on reverse; with typed RHA label and Solomon Fine Art label on reverse
  • Medium: oil on gessoed paper
  • Dimensions: 21.5 by 12in., 54.61 by 30.48cm.
  • Provenance: RHA, Dublin; Private collection; deVere's, 29 November 2006, lot 121; Private collection
  • Exhibited: RHA Annual Exhibition, Dublin, 21 May - 29 June 2002, catalogue no. 180
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FROM THE WORLD TRADE CENTRE
FROM THE WORLD TRADE CENTRE
James Hanley RHA (b.1965)

Auction Date / Lot No.: 26 November 2012 / 5

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: signed with initials lower right; inscribed with title and dated [2004] on reverse; also with Solomon Fine Art label on reverse
  • Medium: oil on linen
  • Dimensions: 16 by 20in., 40.64 by 50.8cm.
  • Provenance: Solomon Fine Art, Dublin; Private collection
  • Exhibited: 'Souvenir', Solomon Gallery, Dublin, 2 - 19th November 2004
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CONES, 2008
CONES, 2008
Martin Gale RHA (b.1949)

Auction Date / Lot No.: 26 November 2012 / 6

Published Estimate: €3000-4000

Price Realised: €4800

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 15.75 by 19.75in., 40.005 by 50.165cm.
  • Provenance: RHA, Dublin; Private collection
  • Exhibited: RHA, Dublin, July 2008; 'Important Irish & British Art and Master Prints', Merrion Hotel, Dublin, 14-16 November 2008
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HOUSE BOAT LANDING
HOUSE BOAT LANDING
Colin Martin ARHA (b.1973)

Auction Date / Lot No.: 26 November 2012 / 7

Published Estimate: €3000-5000

Price Realised: €4200

  • Medium: oil on canvas
  • Dimensions: 31.5 by 47.25in., 80.01 by 120.015cm.
  • Provenance: RHA, Dublin; Private collection
  • Exhibited: RHA Dublin, December 2008
  • Colin Martin was the recipient of the prestigious Hennessy Craig Scholarship at the RHA in 2005.

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LOITERING WITH INTENT, 1995
LOITERING WITH INTENT, 1995
John Doherty (b.1949)

Auction Date / Lot No.: 26 November 2012 / 8

Published Estimate: €3000-5000

Price Realised: €6400

  • Signature: signed, titled and dated in the lower margin; with typed Louis K. Meisel Gallery [New York] label on reverse
  • Medium: acrylic on board
  • Dimensions: 11.75 by 17in., 29.845 by 43.18cm.
  • Provenance: Louis K. Meisel Gallery, New York; Where purchased by Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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XIV, [ALLIHIES, WEST CORK] 1995
XIV, [ALLIHIES, WEST CORK] 1995
Charles Tyrrell (b.1950)

Auction Date / Lot No.: 26 November 2012 / 9

Published Estimate: €3000-5000

Price Realised: €2700

  • Signature: signed, numbered [XIV], titled and dated on reverse
  • Medium: oil on canvas over timber
  • Dimensions: 35 by 35in., 88.9 by 88.9cm.
  • Provenance: Taylor Galleries, Dublin; Where purchased by Jim O'Driscoll SC
  • Exhibited: 'Charles Tyrrell 1995', Taylor Galleries, Dublin, 24 November - 10 December 1995, as 1995 XIV (illustrated in exhibition catalogue) 'An Advocate for Art : A Tribute To Jim O'Driscoll SC', Irish Museum of Modern Art, Dublin, 6 July to 15 August 2010
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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A LONG TIME GONE, 2005
A LONG TIME GONE, 2005
Hughie O’Donoghue (b.1953)

Auction Date / Lot No.: 26 November 2012 / 10

Published Estimate: €6000-8000

Price Realised: €7200

  • Signature: signed, titled and dated on reverse; with Fenton Gallery label also on reverse
  • Medium: oil on panel incorporating transparent photographic component
  • Dimensions: 23 by 35in., 58.42 by 88.9cm.
  • Provenance: Fenton Gallery, Cork; Where purchased by Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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GOOSEWING AT SUNSET, 1990
GOOSEWING AT SUNSET, 1990
William Crozier HRHA (1930-2011)

Auction Date / Lot No.: 26 November 2012 / 11

Published Estimate: €1500-2000

Price Realised: €1400

  • Signature: signed and dated in pencil lower left; signed again, titled and dated on reverse; with Taylor Galleries exhibition label also on reverse
  • Medium: watercolour
  • Dimensions: 11 by 15in., 27.94 by 38.1cm.
  • Provenance: Taylor Galleries, Dublin; Where purchased by Jim O'Driscoll SC
  • Exhibited: 'William Crozier', Taylor Galleries, Dublin, February, 1991, catalogue no. 31
  • Goosewing beach is in Massachusetts, USA. Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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SHORELINE FIELDS, 1996
SHORELINE FIELDS, 1996
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 26 November 2012 / 12

Published Estimate: €5000-7000

Price Realised: €4400

  • Signature: signed and dated lower left; signed again, titled and with artist's archival number [96.73] on reverse
  • Medium: oil on board
  • Dimensions: 24 by 32in., 60.96 by 81.28cm.
  • Provenance: The Collection of Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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ENTRANCE TO THE STRAND
ENTRANCE TO THE STRAND
William Crozier HRHA (1930-2011)

Auction Date / Lot No.: 26 November 2012 / 13

Published Estimate: €18000-22000

Price Realised: €0

  • Signature: signed lower right; signed again and titled on reverse
  • Medium: oil on canvas
  • Dimensions: 51.5 by 46.5in., 130.81 by 118.11cm.
  • Provenance: Purchased directly from the artist by Jim O'Driscoll SC
  • In 1983 the Scottish born artist, William Crozier bought a cottage at Kilcoe, near Skibbereen, Co. Cork where the surrounding landscape had a profound effect on his work. A well-established artist with an international reputation, he felt that he was painting nature for the first time. There is a sense of a newly discovered terrain in the way in which Entrance to the Strand is constructed, making the countryside appear strange and exhilarating. Described as if 'lit from within', a painting like Entrance to the Strand evokes a strong sense of the exotic colours and dramatic vistas of West Cork. Crozier brought his vast experience and knowledge of modernist European traditions to bear on the work. In particular one can see the sensuous colour and intense forms of the Fauves and the Scottish Colourists in the painting. Entrance to the Strand is a striking example of Crozier's ability to extract the maximum vibrancy from nature. It uses a complex and highly expressive combination of flattened space and strong colour to convey the opulence of the landscape and of the process of painting. Painted near Kilcoe, with a view of Roaring Water Bay in the distance, the work builds up a powerful juxtaposition of the elements of the landscape - trees, fields, sea and distant islands. The pathway, river and expanse of green in the foreground and middle distance act as obstacles to the coastline at the top of the composition, drawing the viewer into an engagement with the work. Vibrant pinks and reds connect the sky to the trees and pathway, where these tones evoke the vividly coloured fuschia of the region. The combination of strong hues of green, blue and pink makes the view appear like that of an exotic oasis, into which the viewer, like an explorer, is brought into direct contemplation. In this painting nature has been re-invented and supplanted by the imagination of the artist and the process of painting. Dr. Róisín Kennedy October 2012 Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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THE SPEAKER
THE SPEAKER
John Shinnors (b.1950)

Auction Date / Lot No.: 26 November 2012 / 14

Published Estimate: €1500-2000

Price Realised: €1900

  • Signature: signed and titled on original label on reverse
  • Medium: pastel
  • Dimensions: 9.5 by 7.75in., 24.13 by 19.685cm.
  • Provenance: The Collection of Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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UNTITLED, 1975
UNTITLED, 1975
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 26 November 2012 / 15

Published Estimate: €800-1200

Price Realised: €800

  • Signature: signed with initials lower left; dated lower right; with Taylor Galleries exhibition label on reverse; artist's archival number [2096] also on reverse
  • Medium: oil on paper
  • Dimensions: 10 by 7in., 25.4 by 17.78cm.
  • Provenance: Taylor Galleries, Dublin; Where purchased by Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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THE BURREN, 1993
THE BURREN, 1993
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 26 November 2012 / 16

Published Estimate: €3000-4000

Price Realised: €3000

  • Signature: signed with initials and dated lower left; titled, dated and with artist's archival number [6110] on reverse; with Taylor Galleries exhibition label on reverse
  • Medium: acrylic and collage on paper
  • Dimensions: 20 by 30in., 50.8 by 76.2cm.
  • Provenance: Taylor Galleries, Dublin; Where purchased by Jim O'Driscoll SC
  • Exhibited: 'Tony O'Malley, 50 Years, A Selective Retrospective of Works on Paper', Taylor Galleries, Dublin, November 2002, catalogue no. 160
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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TURKISH DELIGHT - STRAWBERRY, 1997
TURKISH DELIGHT - STRAWBERRY, 1997
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 26 November 2012 / 17

Published Estimate: €2000-3000

Price Realised: €3200

  • Signature: signed lower right; with Taylor Gallery label on reverse
  • Medium: oil on linen
  • Dimensions: 10 by 13in., 25.4 by 33.02cm.
  • Provenance: Taylor Galleries, Dublin; Where purchased by Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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WINTER AND SUN / AN GEIMHREADH AGUS AN GHRIAN, 1998
WINTER AND SUN / AN GEIMHREADH AGUS AN GHRIAN, 1998
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 26 November 2012 / 18

Published Estimate: €4000-6000

Price Realised: €4000

  • Signature: signed, titled (in Irish and English), dated and with artist's archival number [6246] inscribed on reverse; also with Taylor Galleries exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 25 by 20in., 63.5 by 50.8cm.
  • Provenance: Taylor Galleries, Dublin; Where purchased by Jim O'Driscoll SC
  • Exhibited: 'Tony O'Malley, Recent Work', Taylor Galleries, Dublin, 8-24 April, 1999, catalogue no. 35
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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IN THE COUNTRY [PHYSICIANSTOWN, CALLAN] 1985
IN THE COUNTRY [PHYSICIANSTOWN, CALLAN] 1985
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 26 November 2012 / 19

Published Estimate: €4000-6000

Price Realised: €4200

  • Signature: signed with initials and titled lower left; signed again upper right; dated [13/8/85] lower right; signed, titled and dated again on reverse; also with artist's archival number [924] on reverse; with inscribed Taylor Galleries label on reverse
  • Medium: oil on paper
  • Dimensions: 25 by 20.25in., 63.5 by 51.435cm.
  • Provenance: Taylor Galleries, Dublin; Where purchased by Jim O'Driscoll SC
  • The artist notes on reverse that a postcard was printed from this painting [by St. Ives Printing and Publishing Company, Cornwall]. Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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STUDY OF JAMES JOYCE, 1983
STUDY OF JAMES JOYCE, 1983
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 26 November 2012 / 20

Published Estimate: €18000-22000

Price Realised: €17000

  • Signature: signed and dated lower right; titled on reverse
  • Medium: watercolour
  • Dimensions: 23.75 by 17.75in., 60.325 by 45.085cm.
  • Provenance: The Collection of Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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RECLINING FIGURE, 1989
RECLINING FIGURE, 1989
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 26 November 2012 / 21

Published Estimate: €1500-1800

Price Realised: €0

  • Signature: signed, titled and dated lower right
  • Medium: mixed media with gouache on paper
  • Dimensions: 42 by 29in., 106.68 by 73.66cm.
  • Provenance: The Collection of Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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DUBLIN, 1969
DUBLIN, 1969
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 26 November 2012 / 22

Published Estimate: €800-1000

Price Realised: €950

  • Signature: signed, titled and dated lower right; with inscribed Dawson Gallery label on reverse
  • Medium: mixed media with gouache and pastel on paper
  • Dimensions: 23 by 16in., 58.42 by 40.64cm.
  • Provenance: Dawson Gallery, Dublin; Where purchased by the previous owner; The Collection of Jim O'Driscoll SC
  • Exhibited: 'Brian Bourke New Paintings and Drawings', Dawson Gallery, Dublin, 5-21 June, 1969, catalogue nos. 29-31 (all titled Dublin Landscape)
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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FAIRY THORN AT WELL, 1976
FAIRY THORN AT WELL, 1976
Nano Reid (1900-1981)

Auction Date / Lot No.: 26 November 2012 / 23

Published Estimate: €3000-5000

Price Realised: €0

  • Signature: signed lower right; titled and signed again on original label on reverse; also with inscribed Dawson Gallery exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 24 by 18in., 60.96 by 45.72cm.
  • Provenance: Dawson Gallery, Dublin; Where purchased by Jim O'Driscoll SC
  • Exhibited: 'Nano Reid', Dawson Gallery, Dublin, 20 October to 2 November, 1976, catalogue no. 1
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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TINKERS AND PONY, 1969
TINKERS AND PONY, 1969
Nano Reid (1900-1981)

Auction Date / Lot No.: 26 November 2012 / 24

Published Estimate: €3000-5000

Price Realised: €0

  • Signature: signed lower left; with title and number [6] inscribed on label on reverse; with both Dawson Gallery exhibition and framing labels on reverse
  • Medium: oil on board
  • Dimensions: 29 by 15.25in., 73.66 by 38.735cm.
  • Provenance: Dawson Gallery, Dublin; Where purchased by Jim O'Driscoll SC
  • Exhibited: 'Nano Reid', Dawson Gallery, Dublin, 11-26 April, 1969, catalogue no. 10 [65gns]
  • In original frame of the Dawson Gallery, Dublin. Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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ABSTRACT COMPOSITION
ABSTRACT COMPOSITION
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 26 November 2012 / 25

Published Estimate: €1500-2000

Price Realised: €2500

  • Medium: gouache
  • Dimensions: 19 by 12.25in., 48.26 by 31.115cm.
  • Provenance: The Collection of Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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UNTITLED [SAND PAINTING]
UNTITLED [SAND PAINTING]
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 November 2012 / 26

Published Estimate: €2000-3000

Price Realised: €2000

  • Medium: oil and sand on board
  • Dimensions: 25 by 30in., 63.5 by 76.2cm.
  • Provenance: The Collection of Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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GIRL AT WELL
GIRL AT WELL
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 November 2012 / 27

Published Estimate: €500-700

Price Realised: €680

  • Signature: with artist's name, title and medium in the lower margin; with inscribed Taylor Galleries label on reverse
  • Medium: etching
  • Dimensions: 10 by 13.25in., 25.4 by 33.655cm.
  • Provenance: Taylor Galleries, Dublin; Where purchased by Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

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AFTER THE HARVEST, LOUGH SWILLY, COUNTY DONEGAL, c. early 1950s
AFTER THE HARVEST, LOUGH SWILLY, COUNTY DONEGAL, c. early 1950s
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 26 November 2012 / 28

Published Estimate: €6000-8000

Price Realised: €7100

  • Signature: with location on reverse; with David Hendriks Gallery label also on reverse
  • Medium: oil on board
  • Dimensions: 16 by 21.5in., 40.64 by 54.61cm.
  • Provenance: Adam's & Bonhams, 5 December 2006, lot 125; Whence purchased by the present owner
  • Another example from this period in O'Neill's oeuvre, entitled, Knockalla Hills, Co. Donegal, 1951 can be found in the collection of The Ulster Museum, Belfast.

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CLOUGHANEELY, COUNTY DONEGAL
CLOUGHANEELY, COUNTY DONEGAL
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 26 November 2012 / 29

Published Estimate: €5000-7000

Price Realised: €5400

  • Signature: signed lower left; with inscribed label on reverse detailing title
  • Medium: oil on board
  • Dimensions: 20 by 24in., 50.8 by 60.96cm.
  • Contained in its original Victor Waddington frame. Cloughaneely or Cloch Cheann Fhaola meaning "the Stone of Faoil's Head" is a Gaeltacht area in west Donegal which, along with the Rosses and Gweedore, are known locally as "the three parishes".

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THE YELLOW POOL
THE YELLOW POOL
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 26 November 2012 / 30

Published Estimate: €3000-4000

Price Realised: €5000

  • Medium: oil on board
  • Dimensions: 7 by 9in., 17.78 by 22.86cm.
  • Provenance: The Artist's Estate; with Pyms Gallery, London; Whyte's, 26 April 2005, lot 17; Private collection; Whyte's, 28 April 2008, lot 78; Whence purchased by the present owner
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BALLINDOOLY, COUNTY GALWAY
BALLINDOOLY, COUNTY GALWAY
Harry Epworth Allen RBA (1894-1958)

Auction Date / Lot No.: 26 November 2012 / 31

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed lower left; with title and artist's name in the mount, lower left and lower right respectively; with Magee Gallery, Belfast label on reverse
  • Medium: tempera on card
  • Dimensions: 8.5 by 10.25in., 21.59 by 26.035cm.
  • Provenance: Cheffin's Grain and Comins, Cambridge, 26 March 1998; James Adam & Bonham's, Dublin, 26 May 1999, lot 8a; Whence purchased by the previous owner; Whyte's, 28 April 2008, lot 156; Whence purchased by the present owner
  • Literature: Basford, John, Harry Epworth Allen (1894-1958): Catalogue of his Works, Rowsley, Derbyshire, 2007, p.203
  • In original John Magee frame.

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HEAD
HEAD
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 26 November 2012 / 31.1

Published Estimate: €20000-30000

Price Realised: €22000

  • Signature: signed lower right; with inscribed Dawson Gallery exhibition label and framing label on reverse
  • Medium: oil on board
  • Dimensions: 18 by 14in., 45.72 by 35.56cm.
  • Provenance: Dawson Gallery, Dublin; Where purchased by F. O'Neill Esq.; Thence by descent to the previous owner; Sotheby's, 9 May 2007, lot 104; Private collection
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GIRL WITH FLOWERS
GIRL WITH FLOWERS
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 26 November 2012 / 32

Published Estimate: €12000-15000

Price Realised: €12500

  • Signature: signed lower left; original exhibition labels on reverse
  • Medium: oil on board
  • Dimensions: 20 by 16in., 50.8 by 40.64cm.
  • Provenance: George Waddington Galleries, Montreal; Collection of J. G. McConnell Jnr, Montreal; Theo Waddington, London; Private collection; Whyte's, 26 April 2005, lot 16; Whence purchased by the present owner
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ADAM AND EVE IN THE GARDEN, 1950-1952
ADAM AND EVE IN THE GARDEN, 1950-1952
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 26 November 2012 / 33

Published Estimate: €40000-60000

Price Realised: €70000

  • Signature: signed [leB] and dated ['52] lower left; signed with initials by maître-lissier, René Duché and numbered in the weave on reverse lower right; with Certificate of Authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duché
  • Medium: colour-inverted Aubusson tapestry, Atelier René Duché; (no. 4 from an edition of 9)
  • Dimensions: 55 by 108in., 139.7 by 274.32cm.
  • Provenance: Acquired directly from the artist by the present owner
  • The genesis of le Brocquy's colour-inverted tapestries pivots on his meeting with designer Jean Lurçat in the summer of 1952 in London where le Brocquy had established his studio, in Battersea, in spring that year. The innovations in the weaving industry coupled with his own earlier interest in the emotional effect of colour led him to explore the medium through the adaptation of early small-scale flat (gouache) cartoons. Between 1948 and 1952 these were translated into woven images facilitated by Tabard Frères et Soeurs, Aubusson and included Travellers, Garlanded Goat and the Eden series. In the artist's notes in the catalogue for 'Louis le Brocquy, Aubusson Tapestries', 3-29 May 2001 with Agnew's, he describes the process thus: "These tapestries were designed by means of a technique I learned directly from the master in this medium, Jean Lurçat. No colour sketch is involved. Instead a purely linear cartoon defines areas within which a range of coloured wools are indicated by numbers. But, further to these first cartoons, my excitement regarding the drama of colour-inversion encouraged me to make at the time second versions of these linear cartoons, inverted both in colour and tone."1 It would be fifty years before the artist could realise these second, colour-inverted, versions. The present tapestry was woven at Aubusson by celebrated Lissier René Duché in collaboration with the artist's son, Pierre. They have been described as linking "… the refined simplicity of medieval weaving with the mastery of Cubist drawings" and by le Brocquy, as an "… inverted transformation of mood, 'as contrary as night from day'".2 Footnote: 1. Exhibition catalogue for 'Louis le Brocquy, Aubusson Tapestries', Agnew's, London, 3-29 May 2001, (Artist's Notes; unpaginated) 2. Ibid

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DOGS BAY, ROUNDSTONE
DOGS BAY, ROUNDSTONE
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 26 November 2012 / 34

Published Estimate: €5000-7000

Price Realised: €6800

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 36 by 30in., 91.44 by 76.2cm.
  • Exhibited: possibly exhibited at 'George Campbell / Gerard Dillon', Piccadilly Gallery, London, June 1955, no. 32 as Dogs Bay, Connemara
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NIGHT SHAPES
NIGHT SHAPES
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 26 November 2012 / 35

Published Estimate: €5000-7000

Price Realised: €0

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 30 by 25in., 76.2 by 63.5cm.
  • Exhibited: 'Paintings 1959-1962 by George Campbell', Ritchie Hendriks Gallery, Dublin, no. 8 [70gns.]
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GOAT IN THE SNOW, 1950
GOAT IN THE SNOW, 1950
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 26 November 2012 / 36

Published Estimate: €12000-15000

Price Realised: €11500

  • Signature: signed and dated lower right; numbered [668] and with "Gimpel Fils" inscribed on reverse; also with James Bourlet & Sons, Ltd. label on reverse; with original price [30gns] inscribed on reverse
  • Medium: black ink and wash over pencil with gouache on tinted paper
  • Dimensions: 22 by 16in., 55.88 by 40.64cm.
  • Provenance: Victor Waddington Galleries, Dublin; Private collection
  • Exhibited: ‘Louis le Brocquy’, Victor Waddington Galleries, Dublin, 6-17 December, 1951, catalogue no. 19 Goat in Snow [30gns]
  • The tapestry Garlanded Goat (limited ed.) woven by Tabard, Frères et Soeurs, Aubusson, France was also exhibited at the Waddington show as catalogue no. 13. The exhibition comprised 12 works in oil, 3 in tapestry, 16 in watercolour, 6 in pastel and 3 lithographs.

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LES ÉCHECS, 1952
LES ÉCHECS, 1952
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 26 November 2012 / 37

Published Estimate: €2500-3500

Price Realised: €3600

  • Signature: signed lower right; signed, inscribed [1749 Les echecs] and dated on reverse; with another painting of a face also on reverse
  • Medium: oil on canvas
  • Dimensions: 18 by 24in., 45.72 by 60.96cm.
  • Provenance: Acquired directly from the artist by the present owner's parents; Thence by descent
  • This work was painted in Paris and uses Rákóczi's familiar "wook" figures. We are grateful to the artist's grandson, Chris Rákóczi, for his assistance with this lot.

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UNTITLED, c.1950s
UNTITLED, c.1950s
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 26 November 2012 / 38

Published Estimate: €800-1000

Price Realised: €0

  • Signature: signed in pencil lower left
  • Medium: monoprint
  • Dimensions: 9.25 by 14.5in., 23.495 by 36.83cm.
  • Provenance: Acquired directly from the artist by the present owner's parents; Thence by descent
  • We are grateful to the artist's grandson, Chris Rákóczi, for his assistance with this lot.

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SKETCH FOR THE DROWNED SAILOR, ACHILL
SKETCH FOR THE DROWNED SAILOR, ACHILL
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 26 November 2012 / 39

Published Estimate: €500-700

Price Realised: €0

  • Signature: signed lower right; titled lower left; inscribed letter from the artist to the present owner's parents on reverse
  • Medium: ink on paper
  • Dimensions: 10 by 14in., 25.4 by 35.56cm.
  • Provenance: Acquired directly from the artist by the present owner's parents; Thence by descent
  • Note on reverse is directed to the present owner's father and thanks him for his support of the controversial Drowned Sailor (1948) painting which he showed in his house. The artist notes, "...No one else would have been brave enough to do so at that time I am sure." He continues, "It's now in the possession of Dr Herbrand Ingouville-Williams, 40 Fitzwilliam, Sq., Dublin." We are grateful to the artist's grandson, Chris Rákóczi, for his assistance with this lot.

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CALINE: BRUGGE, c.1968
CALINE: BRUGGE, c.1968
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 November 2012 / 39.1

Published Estimate: €6000-8000

Price Realised: €5000

  • Signature: signed in monogram lower left; signed in monogram and titled on reverse; dated [2 July 1968] and with address [Upper Ballinderry / Lisburn] inscribed on reverse
  • Medium: oil on masonite board
  • Dimensions: 36 by 36in., 91.44 by 91.44cm.
  • Provenance: Ritchie Hendriks Gallery, Dublin; Private collection
  • Exhibited: 'Colin Middleton', Ritchie Hendriks Gallery, Dublin, until 23 December 1965, catalogue no. 35 [125gns]
  • Works relating to Bruges (Belgium) were shown in the artist's major retrospective exhibition in 1976 in the Ulster Museum, Belfast and the Municipal Gallery of Modern Art, Hugh Lane, Dublin. The artist travelled with his father to Belgium on a business trip in 1931 where he was exposed to Flemish painters, such as Rogier van der Weyden. He retuned to Belguim between 1961 and 1972 where he painted a series of works based on the city of Bruges. The Hendriks Gallery show in 1965 comprised 35 works in oil several of which referenced Bruges including the present example.

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BARCELONA CROCKERY, 1975
BARCELONA CROCKERY, 1975
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 November 2012 / 40

Published Estimate: €500-700

Price Realised: €500

  • Signature: inscribed with date [27 April] lower centre
  • Medium: pencil on graph paper
  • Dimensions: 4 by 3.75in., 10.16 by 9.525cm.
  • Provenance: Christie's, 12 May 2006, lot 230; Private collection
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MOTHER AND CHILD
MOTHER AND CHILD
Cecil ffrench Salkeld ARHA (1904-1969)

Auction Date / Lot No.: 26 November 2012 / 40.1

Published Estimate: €2500-3500

Price Realised: €2500

  • Signature: signed lower right
  • Medium: oil on canvas laid on board
  • Dimensions: 17 by 14.25in., 43.18 by 36.195cm.
  • Provenance: Collection of Lady Nelson; Collection of Cyril McKeown; Private collection
  • As a member of the Dublin Painters group, as well as a poet, playwright, dramatist, broadcaster, philosopher and owner of the Gayfield Press, Cecil Salkeld was at the forefront of the avant-garde in Irish arts and literature. He was a Renaissance man of his time who interlinked the arts in a way which he had observed in Germany but which was entirely forward-thinking for Ireland at the time. Salkeld's mother was an actress with the Abbey Theatre as well as a poet and playwright. His daughter Beatrice was married to Brendan Behan while his other daughter also pursued a career on the stage. He was producer of radio programmes on the arts, director of cultural events for An Tostal as well as director of the Irish National Ballet. Salkeld, who was born in India, studied art in Germany at Kassell Kunstchule in the early 1920s under Ewald Dülberg, whose style was in the manner of the Rheinland Primitives. There he also came under the influence of Otto Dix and the New Objectivity movement and upon returning to Dublin, he aligned himself immediately with the modernists, adapting his style to contemporary life in the Irish capital. He exhibited with the New Irish Salon and the Radical Painters' Group among others. Both lots in this sale are painted in the artist's usual austere manner and demonstrate his unique style and smooth handling of paint. While lot 40A demonstrates his fondness for feminine subject matter, the latter [lot 41] shows his ties to the stage. Reviewing an exhibition of his at the Victor Waddington Galleries in 1945, the Dublin Magazine commented on Salkeld's "original, sombre palette, intellectually rather than emotionally conceived". The artist's best known work are his murals, a triptych completed in 1942, in Davy Byrne's pub, Dublin.

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THE AUDITION
THE AUDITION
Cecil ffrench Salkeld ARHA (1904-1969)

Auction Date / Lot No.: 26 November 2012 / 41

Published Estimate: €3000-5000

Price Realised: €3000

  • Signature: signed lower left
  • Medium: oil on canvas board
  • Dimensions: 17.25 by 21.25in., 43.815 by 53.975cm.
  • Provenance: Collection of Lady Nelson; Collection of Cyril McKeown; Private collection
  • The location for the scene is thought to be the Abbey Theatre, Dublin. As a member of the Dublin Painters group, as well as a poet, playwright, dramatist, broadcaster, philosopher and owner of the Gayfield Press, Cecil Salkeld was at the forefront of the avant-garde in Irish arts and literature. He was a Renaissance man of his time who interlinked the arts in a way which he had observed in Germany but which was entirely forward-thinking for Ireland at the time. Salkeld's mother was an actress with the Abbey Theatre as well as a poet and playwright. His daughter Beatrice was married to Brendan Behan while his other daughter also pursued a career on the stage. He was producer of radio programmes on the arts, director of cultural events for An Tostal as well as director of the Irish National Ballet. Salkeld, who was born in India, studied art in Germany at Kassell Kunstchule in the early 1920s under Ewald Dülberg, whose style was in the manner of the Rheinland Primitives. There he also came under the influence of Otto Dix and the New Objectivity movement and upon returning to Dublin, he aligned himself immediately with the modernists, adapting his style to contemporary life in the Irish capital. He exhibited with the New Irish Salon and the Radical Painters' Group among others. Both lots in this sale are painted in the artist's usual austere manner and demonstrate his unique style and smooth handling of paint. While 40A demonstrates his fondness for feminine subject matter, the latter shows his ties to the stage. Reviewing an exhibition of his at the Victor Waddington Galleries in 1945, the Dublin Magazine commented on Salkeld's "original, sombre palette, intellectually rather than emotionally conceived". The artist's best known work are his murals, a triptych completed in 1942, in Davy Byrne's pub, Dublin.

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BALLET GIRL or THE THEATRE ROYAL,1935
BALLET GIRL or THE THEATRE ROYAL,1935
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 26 November 2012 / 42

Published Estimate: €8000-10000

Price Realised: €0

  • Signature: signed lower right; signed, titled, dated and with artist's address [13 Stamer Street, Dublin] on reverse
  • Medium: oil on board
  • Dimensions: 15 by 20in., 38.1 by 50.8cm.
  • Provenance: Adams, 30 May, 2007 lot 159; Private collection
  • The Theatre Royal, Hawkins Street, Dublin opened on 23 September 1935. It was a large art deco building intended for use as both theatre and cinema. A very popular entertainment venue for many years, it closed in 1962.

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THE COMFORTER, 1952
THE COMFORTER, 1952
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 November 2012 / 43

Published Estimate: €150000-200000

Price Realised: €0

  • Signature: signed lower right; with exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 14 by 18in., 35.56 by 45.72cm.
  • Provenance: Victor Waddington Galleries, Dublin; Mrs Jobling-Purser, Dublin; Thence by descent; Whyte's, 29 November 2005, lot 84; Private collection
  • Exhibited: 'Jack B. Yeats: Oil Paintings', Victor Waddington Galleries, Dublin, October 1953, catalogue no. 1; 'Jack B. Yeats, Loan Exhibition', New Gallery, Belfast, 14-26 June 1965, catalogue no. 9; 'Irelandskt - Exhibition of Irish Paintings: From Yeats to Ballag
  • Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsh, London, 1992, Vol. II, page 1026, catalogue no. 1125; also Vol. III (full page illustration, p.568)
  • Hilary Pyle has described this work as follows: "A girl with a sallow complexion, wearing a black hat, has a numb absorbed expression. The face of the man who leans towards her, speaking gently, is brightened by the light of the sky seen above the landscape which opens beyond the wall before which their upper parts are seen. There is a sketch for this in pencil in the final workbook. Yeats painted many pictures of personalities in conflict or in accord, and was always interested in the psychological relationship of one person with another. At this late stage, he may also have been considering the theological implications of the title". (Pyle, op. cit., Vol. II, page 1026). Bruce Arnold, author of Jack Yeats(Yale University Press 1998) writes: For a late work The Comforter has a powerful simplicity, rich colour and assured composition. The thought behind it, a narrative of kindness offered and comfort taken from it, binds the central figures together. Both of them, though particularly the woman, are given clear characterisation, not always so successfully done by Yeats, whose technique, so full of the flamboyant use of impasto, created at times a riot rather than a resolution of event. Here, the emphasis that he sought and has achieved is one of calmness and consideration. The full-face presentation of the woman is unequivocal, though whatever grief she is holding to her heart is under a measure of control that makes the comforter's role that much more difficult. Yeats had three years to go, and some fabulous works to paint; yet few in the last cycle of his output have the determination of thought and intent, as well as the control, achieved here. Bruce Arnold HRHA October, 2005

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AGAINST THE STREAM, 1945
AGAINST THE STREAM, 1945
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 November 2012 / 44

Published Estimate: €50000-70000

Price Realised: €53000

  • Signature: signed lower left; inscribed with title on reverse; also with inscribed Dawson Gallery label on reverse and typed Waddington Galleries, London label on reverse
  • Medium: oil on board
  • Dimensions: 9 by 14in., 22.86 by 35.56cm.
  • Provenance: Dawson Gallery, Dublin; Where purchased by a Mr F.S. Hess; with Waddington Galleries, London; Where purchased by a Mr Daniel O'Keeffe; Private collection
  • Exhibited
  • Literature
  • A man walks briskly along a river bank pulling a small barge in the water along behind him. The dramatic contrast in scale between him and his passengers suggest that the latter is a toy or that some fantastic scene is before us. Yeats' intricate handling of the paint conveys a breezy day with the trees on the bank blowing in the gentle wind. The bright blues of the sea and river compliment the dark greens and yellow tones of the surrounding vegetation and suggest the warmth of a summer's day. The blue paint of the water has been scraped back in parts to reveal the white of the board underneath. This denotes the reflected light of the sky on the surface of the river, while drawing our attention to the physical construction of the painting. The pink shirt and grey trousers of the ferryman while contrasting in hue with that of its environs are blended into the composition through the way in which the artist has sculpted the form out of paint. Rivers and ferrymen are a major theme in Yeats' work. The ferryman, like the pilot man who guided the ships in and out of port, is symbolic of an innate wisdom and a keen understanding of the complexities of the sea and the tide. The title of this work Against the Stream indicates the skill of the man as he manoeuvres the boat upstream. Rivers are moving forces and as such they represent the unending progress of life and nature. The sense of journeying is keenly expressed in this work through the movement of trees, the water and above all by the striding figure and the boat. The wide spread of the composition takes in the breadth of the river and its opposing bank and thus sets the expedition of the man and the boat within the much greater context of natural forces. In a playful manner Yeats uses the work to pose quite profound questions about the purpose of an individual life set against the bigger forces of the natural world. Dr. Róisín Kennnedy November 2012

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THE LITTLE BOOK, 1906
THE LITTLE BOOK, 1906
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 November 2012 / 45

Published Estimate: €10000-15000

Price Realised: €12000

  • Signature: signed lower right; with Waddington Galleries label on reverse
  • Medium: watercolour
  • Dimensions: 10 by 14in., 25.4 by 35.56cm.
  • Provenance: Waddington Galleries, London; Where purchased by the present owner
  • Exhibited: 'Jack B. Yeats: Sketches of Life in the West of Ireland', Leinster Hall, Dublin, 1-20 October 1906, catalogue no. 13; 'Taispeántas Ealaíon', An tOireachtas, Dublin, 1906
  • Literature: Pyle, Hilary, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, catalogue no. 607, p.150 (listed)
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GLENCAR, SLIGO, 1949
GLENCAR, SLIGO, 1949
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 November 2012 / 46

Published Estimate: €30000-40000

Price Realised: €42000

  • Signature: signed lower left; inscribed on reverse; also with exhibition labels on reverse
  • Medium: oil on panel
  • Dimensions: 9 by 14in., 22.86 by 35.56cm.
  • Provenance: Waddington Galleries, London; Whence purchased by Capt. C. S. Collinson, Jan. 1950; Harold Diamond, New York, 1958; Joseph H. Hirschhorn, New York, 1958-66; Hirschhorn Museum, Washington DC; Christies, London, 10 May 2007, lot 93; Whence purch
  • Literature: Pyle, Hilary, Jack B. Yeats A Catalogue Raisonné of the Oil Paintings II, London, 1992, p.876, no. 968 (illustrated) and III, p.497 (illustrated)
  • Glencar Waterfall is situated north of Sligo town and is made up of three falls, the highest of which is fifty feet. It flows into the lake of Glencar, inland from Drumcliffe, where Yeats's grandfather was rector for many years and where his brother, William was buried. Jack Yeats and his siblings visited Glencar as children when they were staying with their mother's family in Sligo. There are two crannógs in the nearby lake, adding to the sense of mystery evoked by the waterfall and the surrounding countryside. W. B. Yeats used the locality as a setting for his early poem, The Stolen Child - Where the wandering water gushes From the hills above Glen-Car, In pools among the rushes That scarce would bathe a star ... (W. B. Yeats, The Stolen Child, 1886) The waterfall became an important symbol of Jack's youth and of the beauty of the West in his oil paintings. Glencar Waterfall appears in a number of works, most famously as the backdrop to In Memory of Boucicault and Bianconi, 1937 (National Gallery of Ireland). Glencar is known for its rich vegetation. According to Hilary Pyle's description of the waterfall, it flows through fields of wild garlic and rhododendrons and tall trees surround it.1 Yeats' painting, with its use of rich blues and greens, and its touches of yellow and deep red, recreates the sensuous experience of standing in such a place. The pale form of the water contrasts with its verdant surroundings. Yeats uses a low viewpoint which brings the viewer into the centre of the landscape. Rather than setting the waterfall in the middle of the composition, Yeats sets it to the left-hand side and frames it with the surrounding shrubbery, as if one had suddenly come across this wondrous sight. In its evocation of the lushness of the Irish countryside the painting is prophetic of the later treatment of the Irish landscape as an intimate and mysterious subject by such artists as Seán McSweeney and Barrie Cooke. Yeats' treatment of the pigment in the painting is also interesting in terms of later Irish landscape painting. He is very concerned with the handling of the paint surface. The waterfall is painted, at least partly, over the dark green pigment of the foliage. It is a flat, opaque element in the composition which differentiates it from its surroundings. Yeats departs from all the usual landscape conventions and creates, instead, a remarkable painting in which his complex treatment of the surface takes precedence over other pictorial concerns. Dr Róisín Kennedy 1 Hilary Pyle, Jack B. Yeats. A Biography, 1970, p. 19.

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SNOW SCENE; VIEW OF A RIVER BEND AND TREES
SNOW SCENE; VIEW OF A RIVER BEND AND TREES
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 26 November 2012 / 47

Published Estimate: €6000-8000

Price Realised: €7400

  • Signature: signed with initials lower left
  • Medium: oil on board
  • Dimensions: 15 by 18in., 38.1 by 45.72cm.
  • Provenance: Family of the artist; Thence by descent to the previous owner; Whyte's, 25 February 2008, lot 79; Whence purchased by the present owner
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